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Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
01 Dec 2009
No need to rise for this Hallelujah Chorus
ENO did not exactly ‘import a choir of Heathens’ to encourage the Shaws of this world to ‘hasten’ to its version of ‘Messiah’ ‘if only to witness the delight of the public and the discomfiture of the critics,’ the contribution of ‘Heathens’ in musical terms being limited to representing the populace of an initially grey Britain (or so I assume) but for every critic who was discomfited — most of us — there were hundreds of audience members who loved it, so it’s fairly safe to predict a considerable hit.
It was famously said of Mrs Cibber that for her singing of ‘He was despised,’ all her sins should be forgiven, and I can forgive a lot of directorial sins for Catherine Wyn-Rogers’ deeply moving, absolutely committed performance, and for John Mark Ainsley’s characteristic skill in making fluent musical sounds whilst having to perform undignified acts. Sophie Bevan also had a lot to contend with in that ‘Rejoice Greatly’ was taken a little too fast for her, and she had to perform ‘I know that my Redeemer Liveth’ lying flat on a bed, something which no singer ought to be asked to do — those of us familiar with the Glyndebourne ‘Theodora’ will recall how Dawn Upshaw and David Daniels were similarly encumbered at the moment of their deaths, but there it was deeply moving as opposed to annoying, and at least they didn’t have to rise again and don an M&S cardigan. I found it less easy to forgive Brindley Sherratt’s blustery singing — ‘The Trumpet Shall Sound’ was off key and lacking in grandeur.
And did those trumpets sound for us? Did we, despite being committed Atheists, find ourselves saying ‘Wow, maybe there is something to all this religion stuff after all?’ Well, no — but we sometimes do just that after hearing ‘Messiah’ in the concert hall. Handel himself said that whilst composing the Hallelujah chorus, he felt ‘as if I saw God on his throne, and all his angels about him.’ All I felt here was the same sense of embarrassment I experience at the end of one of those services where everyone has to shake hands. The ENO chorus seemed somewhat subdued overall, and needless to say I Ioathed the drippy dancing.
Does it work? Musically, yes, and you would expect no less from Laurence Cummings’ ever-dynamic command of the orchestra, but the staging seemed too calculated to appeal to the ‘Christmas-addict.’ Of course, it’s a Christmas show, and if it brings in people who don’t know ‘Messiah’ then it will have achieved much, but somehow I had expected more from Deborah Warner: her concept of the kind of grey workaday world of which the poet wrote ‘So many, I had not thought death had undone so many’ being transformed by the suffering and death of Christ was a bit too ‘happy-clappy’ for me, and the Christmas-card images seemed trivialized. As for the child who kept running about to no discernible effect, I could have cheerfully shot the little tyke, adorable though he was. Jean Kalman’s lighting, as so often in this house and up the road, illuminated the stage with the most poetic sensibility.
Catherine Wyn-Rogers [Photo by Robert Workman courtesy of English National Opera]
Should you go? Well of course you should — you’ll hear some genuine Handelian singing and playing, and you’ll experience one of the great masterpieces in a new and occasionally refreshing light — just don’t expect to be as moved as you were by the same director’s ‘St John Passion,’ and be prepared to put up with a few squirm-inducing moments.